상점 검색:

Franz Schubert

Complete Dances, Volume II

Paul Mies (Editor)

Hans-Martin Theopold (Fingering)

Urtext Edition, paperbound

페이지 111 (VIII+103), 사이즈 23,5 x 31,0 cm

무게 446 g

HN 76 · ISMN 979-0-2018-0076-9

Schubert at the piano, with his inexhaustible wealth of dance melodies, his friends around him dancing and playing jokes – this is one of the traditional images of Schubert that we so cherish. The term Schubertiade invented for this kind of get-together is now solidly established. This volume contains more than 200 dances, minuets, waltzes (including the famous 34 Valses sentimentales op. 50 and the 12 Valses nobles op. 77), ländler, écossaises, German dances – each lovelier than the next. They were written in the years 1816-1826. In the Appendix one can find another 32 dances, of which only the melodies are transmitted or that were originally most likely intended for other scorings (Vol. I see HN 74).

Youtube

서문

Sources The present edition comprises all Franz Schubert’s dances for the pianoforte, for two hands. In order of succession, it follows the listing of O. E. Deutsch’s “Franz Schubert. Thematisches Verzeichnis seiner Werke” (Kassel 1978). The text is based on the autographs, except in the following cases, where the autographs have either disappeared or are inaccessible. … 계속

리뷰

작곡가 소개

Franz Schubert

He is not only the inaugurator of the art song and its most important composer in the nineteenth century, but he also realized a compositional concept in his instrumental works that opposed Viennese Classicism. Underlying the “heavenly length” of his works is a configuration of time that does not function according to the principle of motivic development, but addresses the notion of lingering; modifications occur mostly not in continuous unfolding, but through sudden eruptions. His ornate songs contradict the ideal of simplicity in the Lied aesthetics of his time, and provide the basis for the art song of the nineteenth century, regarded as they were as exemplary by subsequent generations of composers; they are defined by complex harmonies, an integration of the idioms of instrumental music, semantic models, and a new relationship between text and music in which the poem as a whole is interpreted through the composition, rather than just through word painting. His immense oeuvre in spite of his brief life comprises 600 songs, including his two famous song cycles; seven complete and several unfinished symphonies (including the “Unfinished” in B minor); other orchestral works; numerous pieces of chamber music; fourteen complete and several unfinished piano sonatas as well as other piano pieces; dances for piano and four-hand works; six masses and other sacred compositions; numerous pieces for choir or vocal ensemble, especially for male voices. Although he also contributed to every genre of music theater and his friends predicted a career for him in opera, only two of his ten finished operas were performed during his lifetime, as was the incidental music to “Rosamunde.”

1797

Born in Himmelpfortgrund near Vienna on January 31, the son of a teacher. First piano lessons from his brother Ignaz, violin lessons from his father at age eight.

from 1808

Choirboy in the Imperial Chapel; attends the imperial and royal boys choir school (“Stadtkonvikt”), playing violin in its orchestra. Lessons from Antonio Salieri, who attempts to win over the boy enamored with Mozart, Haydn, and Beethoven to Italian opera. First surviving compositions.

1811

Composition of his first song, “Hagars Klage.”

1813–14

Attends the pedagogical secondary school, after which he teaches in his father’s school.

1813/14

Composition of the magical opera “Des Teufels Lustschloss” and the Symphony No. 1 in D major in classical form.

1814

Composition of the Mass in F Major, D 105. He writes songs, which he groups by their poets, e.g. Matthisson and Goethe, including “Gretchen am Spinnrade,” which marks the birth of the art song.

1815

Composition of the musical comedy “Claudine von Villa Bella” after Goethe and “Der vierjährige Posten.” Completion of the Symphony No. 2 in B-flat major and composition of the Symphony No. 3 in D major as well as the Masses in G major and No. 3 in D major; the song “Erlkönig,” among others.

1816

Composes 110 songs, the Symphonies No. 4 in C minor and No. 5 in B-flat major, and the Mass in C major. He leaves his parents’ home, suspends his position as teacher, and moves in with Schober.

Premiere in Vienna of the melodrama “Die Zauberharfe” and the musical comedy “Die Zwillingsbrüder.” The song “Frühlingsglaube,” among others.

1821

First Schubertiade: a convivial musical- and literary evening meeting of Schubert’s circle of friends. Publication of the songs “Erlkönig” and “Gretchen am Spinnrade” as well as other Goethe songs and 36 dances.

1821–22/54

Composition/premiere of “Alfonso und Estrella,” one of the early through-composed German operas.

1822

Completion of the Mass in A-flat major; Symphony No. 7 in B minor (“Unfinished”); Wanderer Fantasy in C major for piano, which unites in one movement the four different characters of symphonic movements.

1823

Composition of the musical comedy “Die Verschworenen” (premiere in Frankfurt am Main in 1861), the heroic-Romantic opera “Fierrabras” (premiere in Karlsruhe in 1897), and the incidental music to “Rosamunde,” which is premiered in Vienna. Song cycle “Die schöne Müllerin,” songs “Auf dem Wasser zu singen,” “Lachen und Weinen,” among others; Piano Sonata in A minor, D 784.

1824

Once more teacher of the children of Count von Esterházy. String Quartet in D minor (“Death and the Maiden”). “Wandrers Nachtlied” (“Über allen Gipfeln ist Ruh”). The piano sonata takes on greater importance.

1825

Long holiday travels, including to Gmunden-Gastein, where he composes the Great Symphony in C major (No. 9 or No. 8), in which he considerably expands classical form (e.g. horn motto at the beginning, configuration of time).

Publication of the “Six Moments Musicaux” for piano. Composition of the last three piano sonatas in C minor, A major, and B-flat major (the latter with a tendency towards the esoteric), the sonata movement in A minor (“Lebensstürme”), the Mass in E-flat major. “Thirteen Songs after Poems by Rellstab and Heine” (posthumous “Schwanengesang,” “Swan Song”). In March, a concert dedicated to only his own music. Death in Vienna on November 19.